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VIERA Cast Internet Functions - Reduced Power Consumption - PHL Reference Chroma Processor Plus

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LG to highlight innovate digital products and services delivered by LGE to enrich your life by making it more comfortable.
 
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LG to highlight innovate digital products and services delivered by LGE to enrich your life by making it more comfortable.
 

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Going boldly where no man had gone before, Gene Roddenberry's cult phenomenon STAR TREK debuted in 1966 and reflected that decade's optimistic preoccupation with space travel. Set in the 23rd century, the series chronicled the intergalactic adventures of the U.S.S. Enterprise on its five-year mission to explore the outer reaches of space. Encountering a now-iconic assembly of innovative alien life forms such as the Klingons, Romulans, Tribbles, and Khan Noonian Singh, the ship's jumpsuited crew was a then unheard-of font of multiculturism: Asian Sulu (George Takei), African-American Uhura (Nichelle Nichols), and Scotsman Montgomery Scott (James Doohan). But it was the contrasting personalities of cooly logical Vulcan Mr. Spock (Leonard Nimoy), emotionally intuitive medical officer Leonard "Bones" McCoy (DeForest Kelley), and womanizing ship captain James T. Kirk (William Shatner in definitive overacting mode) that lent the series much of its charm--and spawned a rabid cult following that continues to fuel costume sales and convention bookings to this very day. This collection includes the groundbreaking series' first season. Beam me up, Scotty!

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Based on the graphic novel by Frank Miller and Lynn Varley, 300 takes over the screen like an invading horde. With all the gushing blood of a horror movie and the scope of a classic epic, the second film from Zack Snyder (who helmed the 2004 remake of DAWN OF THE DEAD) is an impressive visual spectacle. Gerard Butler (THE PHANTOM OF THE OPERA) plays Leonidas, the king of ancient Sparta. The city is famous for its warrior philosophy, and Leonidas won't kneel to the demands of Persia's King Xerxes (LOST's Rodrigo Santoro). Instead, Leonidas leads his 300-strong army against Xerxes's army of millions. Meanwhile, his wife (Lena Headley, THE BROTHERS GRIMM) campaigns in Sparta for the city to send reinforcements as she butts heads with the treacherous Theron (Dominic West, THE WIRE). With its gore and scale, 300 marks director Snyder as a possible successor to Peter Jackson's throne. Jackson also got his start in horror with BAD TASTE and DEAD ALIVE, and the two men share a penchant for ambitious battle scenes. The huge fights in 300 rival Jackson's efforts in the LORD OF THE RINGS films. David Wenham, who starred in two of the Tolkien-based films, plays Dilios, one of the Spartan soldiers. Though the cast doesn't boast any A-list stars, the actors ably fill their larger-than-life roles. In a film filled with men, Headley stands out as Queen Gorgo. She matches her warrior husband in strength, while showing love toward Leonidas and their son. Though there are scenes that demonstrate the humanity of the characters, 300 is undeniably about bravery and blood, and it succeeds because of the stylish depictions of both.

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Jack Stanfield (Harrison Ford) is an average family man in Seattle who heads up the hi-tech security team at his local bank. But following a seemingly trivial case of identity theft, Jack's life is turned upside-down when he discovers that his wife (Virginia Madsen) and two kids have been kidnapped. The ransom? A mere $100 million, which the kidnappers, led by Bill Cox (Paul Bettany), want Jack to obtain for them via his expert computer skills. Initially compliant, Jack is soon irked by Cox and his cronies to the point where he decides to get his family back and bring the bad guys to justice. British Director Richard Loncraine (WIMBLEDON) uses this basic premise to orchestrate a number of frantic set-pieces, while Ford concocts a character similar to his take on Dr. Richard Kimble in THE FUGITIVE. With a mouthful of computer jargon and nimble fingers that tumble frantically over a keyboard whenever he's in front of a computer, Ford's character is an unlikely action hero. Meanwhile, Bettany's bad guy gives subtly sinister instructions in his clipped British accent, Robert Forster (JACKIE BROWN) provides a likeable if underused ally for Ford, and Madsen slots neatly into her wife-in-peril role. As the film builds to an explosive climax Loncraine dumps the gadgets and carves out a delirious romp through action-movie conventions, ultimately infusing an old-fashioned story with a twist of 21st-century techno-fear.

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In this screwball comedy of manners, millionaire commodity brokers Randolph and Mortimer Duke (Don Ameche and Ralph Bellamy) wager a bet that pits environment vs. biology and turns the lives of their two unsuspecting victims upside down. Eddie Murphy costars as Billy Ray Valentine, a streetwise hustler who gets dragged off the street and into the proper life of top Duke Bros. broker Louis Winthorpe III (Dan Aykroyd), who in turn gets tossed out of his posh townhouse and onto the mean city streets. The comic team of Murphy and Aykroyd is deliriously funny as they both struggle to comprehend their new lives. Billy Ray is forced to learn proper etiquette, manners, and business sense while uptight Louis scrambles to make it on the streets, befriending a prostitute (Jamie Lee Curtis) who takes him in and saves him from starvation--or worse. When the two innocent victims realize the scheming brothers' plot, they unite and devise a fabulous revenge to prove that their lives can't be controlled by the power-grubbing Duke brothers. The film features outstanding work by Denholm Elliott as the butler and Curtis as the prostitute with a heart of gold. Curtis especially shines in the scene in which she removes all of her hustler accoutrements to reveal her true looks.

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In the silver-screen adaptation of J.K. Rowling's HARRY POTTER AND THE ORDER OF THE PHOENIX, the fifth chapter in the beloved book series, everyone's favorite wizard-in-training (Daniel Radcliffe) finds himself in increasingly perilous situations. Not only is Harry in trouble with the Ministry of Magic for using his abilities outside of school, his trusted mentor, Professor Dumbledore (Michael Gambon), has grown distant, and an icy new Defense Against the Dark Arts teacher, Dolores Umbridge (Imelda Staunton), has arrived to bring a frightening level of discipline to Hogwarts. And waiting in the shadows is the demonic Lord Voldemort (Ralph Fiennes), an ominous figure whose very existence is questioned by the powerful Ministry, leaving Harry and his friends--most notably Ron (Rupert Grint) and Hermione (Emma Watson)--to form a rebel group, Dumbledore's Army. Helmed by little-known British director David Yates and written by Michael Goldenberg (the first scribe to fill the boots of Steve Kloves), THE ORDER OF THE PHOENIX continues the darker tone of the two preceding POTTER installments and deftly follows Harry, Ron, and Hermione as they face new foes and impending adulthood. While Radcliffe, Grint, and Watson all continue to imbue their characters with vitality and complexity, Staunton steals the show as the strict, merciless Umbridge, though the story, which lacks some of the special-effects-heavy set pieces of past chapters, happily leaves room for other actors to shine, most notably Alan Rickman (as the ever-enigmatic Severus Snape), Gary Oldman (Sirius Black), David Thewlis (Remus Lupin), and Helena Bonham Carter (Bellatrix Lestrange). Another fine offering of POTTER movie magic, PHOENIX may not astound quite the way that THE PRISONER OF AZKABAN did, but it easily stands as one of the best films in the series.

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It's been a long, strange trip since Darren Aronofsky last invited viewers into his cinematic world--six years in fact--but THE FOUNTAIN is sure to enchant, beguile, and inspire intense debate among his patient fans. During the frustrating gap since 2000's REQUIEM FOR A DREAM, Aronofsky has struggled to bring THE FOUNTAIN to the screen, principally because leading man Brad Pitt dropped out of the project. The complex tale is split into three different time periods, beginning in the 16th century, when a conquistador named Tomas (Hugh Jackman) strives to find the Tree of Life. The second part of the story finds Jackman playing a Buddha-like character who zips through outer space and dreams of a woman named Izzi (Rachel Weisz). And the third part, which consumes most of the film's screen time, is set in the present day and sees Jackman playing a doctor named Tommy, who is married to the terminally-ill Izzi. In this third section Tommy strives to find a cure for Izzi's brain tumor, and makes some progress after experimenting on a monkey with a substance discovered in a tree in South America. Meanwhile, Izzi has been writing a book that she calls THE FOUNTAIN, but has left the final chapter for Tommy to write. As Aronofsky pushes and pulls his sepia-tinted film between the three time periods, he weaves a deeply thoughtful, special effects-laden story that touches on themes of mortality and self, and requires a great deal of work from the director's audience. Movies such as Kubrick's 2001 and Tarkovsky's SOLARIS come to mind as Aronofsky gets deep into philosophical waters, and the various story strands of THE FOUNTAIN are as inconclusive and open to interpretation as the films that have clearly influenced it. The film makes for uneasy and sometimes confusing viewing, but will find its audience among intrepid souls who are fully prepared to let go and immerse themselves in Aronofsky's peculiar, daring, and thoughtful cinematic universe.

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CHILDREN OF MEN is not a popcorn movie. With its almost relentlessly bleak perspective on the future, Alfonso Cuarón's film doesn't make for pleasant viewing. But it's an exhilarating experience because the picture is an amazing dystopian drama that lacks all the typical trappings of the genre. Set uncomfortably close to the present, it paints a frighteningly realistic picture of the future. In 2027, every woman on earth is infertile. With the loss of the ability to have children, the world has also lost hope. Clive Owen (CLOSER) plays Theo, an Englishman attempting to make a life in a hellish world. His estranged wife (Julianne Moore) convinces him to help transport a young woman to safety. When Theo learns that the woman is pregnant, their journey takes on a significance--and a danger--he never imagined. This is Cuarón's best film to date, a strong statement considering his wonderful HARRY POTTER AND THE PRISONER OF AZKABAN and Y TU MAMA TAMBIÉN. Filmed using a handheld camera, the action draws the audience close, making the horror that much more real. In addition to its remarkable car-chase scenes, the film features impressive acting. With his expressive face and voice, Owen gives a nuanced performance that ranks with the best of his career. As a reclusive hippie, Michael Caine shares a charming counterculture view of the crumbling world. Chiwetel Ejiofor (DIRTY PRETTY THINGS) brings gravitas to the role of a terrorist. Just when the film threatens to overwhelm with its sense of dread, small moments of comedy show through in Owen's wry sense of humor and Caine's perfect delivery. When the credits roll, CHILDREN OF MEN leaves the audience feeling shell-shocked, not only because of its brutal prophecy, but also because of its brilliance.

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Wrestler-turned-actor The Rock gets his first starring role with THE SCORPION KING. A prequel to Stephen Sommers' wildly successful THE MUMMY (1999) and THE MUMMY RETURNS (2001), THE SCORPION KING tells the action-packed story of Mathayus (Rock), an Akkadian assassin who is the only man strong enough to destroy the vile Memnon (Steven Brand). Memnon, a power hungry warlord, uses the prescience of Cassandra (Kelly Hu), a beautiful seer, to ensure an endless succession of victories. Understanding that to defeat Memnon one must first eliminate Cassandra, Mathayus journeys to Gomorrah to infiltrate Memnon's palace and kill Cassandra. But when he lays eyes on the sultry beauty, he is unable to take her life. It isn't long before sparks begin flying and Cassandra is using her powers to aid Mathayus and his cohorts, including the bumbling Arpid (Grant Heslov), and Balthazar (Michael Clark Duncan), a powerful tribe leader who is also looking for a way to end Memnon's reign. Ignoring a vision from Cassandra that predicts his death, Mathayus charges into battle nonetheless, hoping to silence Memnon once and for all. Playing the sensitive, courageous hero, The Rock proves that his appeal is not only relegated to the small screen.

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For five years, Superman (Brandon Routh) has been away from Earth, coaxed into space by a belief that Krypton may still exist. Finding nothing, he comes back to a changed world--not only has terrorism become rampant, but Lois Lane (Kate Bosworth) has married, started a family, and won the Pulitzer for her piece "Why the World Doesn't Need Superman." After a stop in Smallville to see his adopted mother (Eva Marie Saint), Superman is back in Metropolis, and Clark Kent has his old job back at the Daily Planet, with everyone still incredibly oblivious to his alter ego. But where there's Superman, there's Lex Luthor (Kevin Spacey), and he is likely to be planning something dastardly--in this case, using a piece of pilfered kryptonite to grow an entirely new continent that he will control. Bryan Singer (X-MEN 1 and 2), armed with a script by Dan Harris and Michael Dougherty, approaches the red cape with reverence for the lore of the character, and respect for Richard Donner's SUPERMAN (1980) and Richard Lester's 1980 sequel, films that ushered in the era of the modern superhero film. Singer's SUPERMAN is filled with melancholy, and not so subtly suggests the notion of Superman as a Christ figure, sacrificing himself to save mankind. But there are still laughs, mostly courtesy of Spacey (clearly having a blast) and Parker Posey as his moll, Kitty Kowalski, as well as plenty of gasp-inducing set pieces, including a spectacular and terrifying almost-plane crash and a sinking boat. While modern visual effects have allowed Superman to go to entirely new realms, Singer keeps them from becoming the film's raison d'être, thus keeping the Man of Steel's gigantic heart intact--heavy though it may be.

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In 1984, director Michael Mann made television--and fashion--history with his action-packed, neon-lit crime series, MIAMI VICE. The series was a hit for five years, and became a cultural phenomenon that altered male fashion trends and glamorized the drug game. Now Mann, who has made quite a career for himself in Hollywood, with Oscar-nominated films including ALI, HEAT, and THE INSIDER, supersizes and updates his small-screen hit for the moviegoing public, crafting a sparkling, roller-coaster ride of a movie that is perfectly complemented by its bright colors and kinetic movement. MIAMI VICE follows the violent adventures of Crockett (Colin Farrell) and Tubbs (Jamie Foxx). With Miami at the center of a global drug trade, their job of stopping illegal trafficking is hard and dangerous work, yet they are also rewarded with gorgeous girls and local celebrity. But their access to wealth, drugs, and power is tempting, and both men continually struggle with personal demons to stay on the right side of the law. From a frenetic opening scene at a nightclub to an undercover infiltration of a South American drug cartel, the action barely lets up. And when Crockett meets the irresistible Isabella (Chinese stunner Gong Li), the mistress of hotshot drug dealer Jesus Montoya (Luis Tosar), business mixes dangerously with pleasure, on dance floors and between sheets. As he did with the television show, Mann manages to make a guilty pleasure psychologically nuanced and politically charged--eye candy with depth. And despite the mesmerizing cinematography, the actors manage to be as striking as their surroundings, turning in strong, dynamic performances.

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Wrestler-turned-actor The Rock gets his first starring role with THE SCORPION KING. A prequel to Stephen Sommers' wildly successful THE MUMMY (1999) and THE MUMMY RETURNS (2001), THE SCORPION KING tells the action-packed story of Mathayus (Rock), an Akkadian assassin who is the only man strong enough to destroy the vile Memnon (Steven Brand). Memnon, a power hungry warlord, uses the prescience of Cassandra (Kelly Hu), a beautiful seer, to ensure an endless succession of victories. Understanding that to defeat Memnon one must first eliminate Cassandra, Mathayus journeys to Gomorrah to infiltrate Memnon's palace and kill Cassandra. But when he lays eyes on the sultry beauty, he is unable to take her life. It isn't long before sparks begin flying and Cassandra is using her powers to aid Mathayus and his cohorts, including the bumbling Arpid (Grant Heslov), and Balthazar (Michael Clark Duncan), a powerful tribe leader who is also looking for a way to end Memnon's reign. Ignoring a vision from Cassandra that predicts his death, Mathayus charges into battle nonetheless, hoping to silence Memnon once and for all. Playing the sensitive, courageous hero, The Rock proves that his appeal is not only relegated to the small screen.

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This version of Jane Austen's fiercely beloved novel has the daunting task of living up not only to the classic book, but also to the excellent 1995 miniseries of the same name. Yet 2005's PRIDE & PREJUDICE is up to the task, thanks to lively pacing, a witty script, an excellent cast, and clever direction from British newcomer Joe Wright. The surprisingly still-relevant story follows the five Bennet sisters as they deal with suitors and love, as their mother desperately schemes to marry them off advantageously. Sweet-tempered beauty Jane (Rosamund Pike) develops feelings for the equally amiable and extremely wealthy Mr. Bingley (Simon Woods), but forces conspire to keep them apart--while Lizzie (Keira Knightley) finds herself first appalled by, but gradually drawn to, Bingley's aloof, intelligent, and socially awkward friend, Mr. Darcy (Matthew MacFayden). The movie, at just over two hours, is forced to cut and condense a number of the book's subplots, and at times it tries to heighten the drama of certain scenes. But, for the most part, it's as faithful to the spirit of the original as time and cinematic convention allow. The tremendous supporting cast includes Brenda Blethyn as Mrs. Bennet and Donald Sutherland as her wry, withdrawn husband; Jena Malone as teenage twit Lydia; Judi Dench, effortlessly haughty and imperious, as Lady Catherine de Bourg; and Tom Hollander, who steals every scene he's in as the ludicrously pompous and awkward Mr. Collins. The movie's script, adapted by Deborah Moggach, manages to be proto-feminist without becoming anachronistic--and, like the novel, it is incisive about the class politics and gender inequalities of the day.

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On a sultry summer day in 1935, an upper-class British family prepares for a dinner party at their country estate. The players: Briony Tallis (newcomer Saoirse Ronan), a precocious preteen writer; her older sister, Cecilia (Keira Knightley), Cambridge graduate and femme fatale; Robbie Turner (James McEvoy), the housekeeper's mensch-y son, who carries a torch for Cecilia; and various visitors and family members. A series of misperceptions, fueled by the summer heat and Briony's childish hurts and fevered imagination, lead to a dramatic false accusation that lands Robbie in jail. We meet all three characters five years later in the thick of World War II, as foot soldier Robbie prepares for the Dunkirk evacuation and the two estranged sisters train as nurses in London. Director Joe Wright (PRIDE AND PREJUDICE) deserves high praise for translating Ian McEwan's highly internalized, multilayered tale of guilt, redemption, and the power and limits of the artistic imagination, into a sumptuous visual feast that not only conveys the intricate plot points of the novel, but dives head-first into the emotional subtleties that make the story so wrenching. Whether any of the characters' actions are ultimately atoned for by the end of the film is a matter of perception, but Wright's sympathetic eye ensures that every player gets a fair trial. The young director favors long, lingering close-ups that trace every flicker of feeling--Ronan's luminous blue eyes clouding over with righteous gravity; the tremors of hurt and anger and love in McEvoy's sensitive face; the defiant jut of Knightley's jaw as it melts into tender affection. The honey-drizzled look of the first two-thirds of the film contrasts achingly with the tension and seriousness of the action unfolding (and the grim intensity of the wartime sections), and the scenes on the beach at Dunkirk include some of the most masterly camera work of any recent film. ATONEMENT is a powerful story, retold in a way that even diehard fans of the book will appreciate.

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Riding high after the box office success of SHAMPOO and HEAVEN CAN WAIT, Warren Beatty used his seemingly limitless power to write, produce, direct, and star in this epic historical romance. The film recounts a particularly eventful period in the life of notorious American communist John Reed (Beatty), who journeyed to Russia to witness the Bolshevik Revolution firsthand. Before that, he met the already wed Louise Bryant (Diane Keaton) in Portland in 1915. However, they shared such a mutual attraction for words, and each other, that soon Bryant was living with Reed in New York City. It was here where they befriended some of the early 20th Century's most recognizable faces: Eugene O'Neill (Jack Nicholson), Emma Goldman (Maureen Stapleton), Max Eastman (Richard Herrmann), and Horace Whigham (George Plimpton). Yet Reed's commitment to his craft caused an endless friction in the relationship, until Louise found her own journalistic voice, leading the couple to Russia at a crucial moment in history. But just when they appeared to have come to a perfect place in their relationship, tragedy struck. REDS is one of the last vestiges of early Hollywood, a broad, sweeping spectacle that is simultaneously thought provoking and unabashedly entertaining. Beatty inserts fascinating interviews with actual participants from that earlier era throughout the film to provide even more context and insight. At a time when Ronald Reagan had just become the president of the United States, Beatty's sympathetic portrait of notorious American communist John Reed seemed even more daring. Yet, as it continues to age, the film only continues to grow in relevance, assuring its rightful place at the top of the Hollywood canon.

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In November 1970, a plane carrying almost the entire Marshall University football team, its staff and fans crashed, killing 75 people in all and devastating the small town of Huntington, West Virginia. WE ARE MARSHALL, directed by McG (THE O.C., FASTLANE) tells the tragic true story of how the university and the citizens of Huntington rebuilt the football program and dealt with the loss of so many of their own. The university's president, Donald Dedmon, earnestly portrayed by David Strathairn (GOOD NIGHT, AND GOOD LUCK), hires the only willing coach to take on such a daunting task, Jack Lengyl (Matthew McConaughey). With the help of the lone Marshall football coach Red Dawson (Matthew Fox) and the three remaining players who weren't on the plane, Coach Lengyl sets out to restructure Marshall's team, and spirit. But for some in the community it's still too soon, including Paul Griffen (Ian McShane) who lost his football-star son. They fear that moving on so quickly is disrespectful to those who died and to the loved ones who still mourn. The film emphasizes this issue, illustrating the struggle of that harrowing time at Marshall, and in college football history. Although WE ARE MARSHALL contains a similar theme to other sports movies, rising from adversity, the tragedy of so many lives lost in a small community and the painful recovery sets this film apart. Strong performances by McConaughey (FAILURE TO LAUNCH)?his wit and energy adds much needed doses of comic relief, Fox (LOST), and McShane (DEADWOOD) successfully help bring the historical and inspiring story of Marshall University to the big screen, a must-see for all sports fans.

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